Several of hundreds similar Ancient Indian stone carvings belonging to the
Mathura art, and unearthed by modern archaeologists in 19-20th century, are shown below. This art was called after Mathura city, the cultural and administrative center of the Kushan empire, where suchlike sculptures were created in large numbers for sending to other regions of India. Also artists of the Mathura school produced similar sculptures locally.

All these figures were created in age of dominance of Buddhism in India,
and for the purposes of decorating of sanctuaries of this religion.

The sculptures portray Yakshi's  female representatives of the half-legendary people named
Yaksha's who lived originally in solitary places of
the Himalayas, and later were worshipped as deities in India.

Then compare these images to present-day women and women of different
cultures of the past as known from realistic art, including later (Hindu)
Indian art and even some samples of Ancient Indian Buddhist art.

The connection between the full-formed Ancient Indian female sculptures, and
Buddhist religion was quite distinct.
The earliest of such sculptures date back to the beginning of the age of dominance of Buddhism in India
(2nd half of 1st millennium BC - 1st half of 1st millennium AD) and its end was marked just with the demolition of the sanctuaries decorated with such sculptures.

One of the most humane religions, Buddhism has been based on ascetism that originally signifies natural life free from the most of artificial things and problems.

Unlike ascetics of the other traditions, the earliest Ancient Indian ones (rishi, brahman)
did not reject sexual life along with the gender problems.
Who knows, maybe they were free from such problems.

According to legends ascetics lived in their forest hermitages (ashram) in
couples (mithuna). So I can adduce web versions of the famous Indian epos
Ramayana,
the very touching story of female loyal love

Besides, in Indian mythology in Indian mythology occurs a very common motif of the interruption of
an ascetic feat (tapas) with a sexual intercourse by a beautiful women.

Also it's significant that Buddhist esoteric tradition of
tantra is known to combine ascetic and sexual practices.

Later historical sources picture Ancient Indian ascetics as celibates, sex as vulgarly sensual, and gender relations as
problematic.

Except that art we can see similar female images only in some
works of fantasy art which probably are the reflection of some paragon imprinted in the common human hereditary memory,

Fantasy Images of Lara Croft

and never in the reality or in realistic art.

At the same time, the realism of the Buddhist carvings
leaves no doubt about existence of their live originals. The Ancient Indian carving
left portraying woman with unnaturally steep hips represents a case when a sculptor hardly knew wide-hipped
women in reality.

In addition, Ancient Indian literature carries many short mentions and
picturesque descriptions
of wide-hipped full-breasted women, which certainly might not be invented.

So, according to Ancient Indian poetry, such women walked with an unusual gait resembling one of swan.
Mr. Bihareebabu mentions this in his comments to the photos of
Didarganj Yakshi.

Furthermore, there was a kind of objective test of perfection of
female forms  female seat was to match right round form and was compared by shamefree Ancient
Indian poets to the wheel of the chariot of Kama/Manmatha  Indian god of love.
Also in Ancient India, a beautiful woman was called pushpaka after the magic chariot of Kubera,
the legendary king of Yaksha's.

And female wide hips and full breasts of the Buddhist beauties are not mere attrating features of theirs, but very important for proper performance of the main purpose of female organism: reproduction.

Really, it is common knownledge that female pelvis is broader than male one
and has a larger space in the middle to allow a baby to pass
through during childbirth.

It is also known that forensic anatomists can determine if a
dead woman had borne child during her life owing to a
small space, which appears regularly between two female front pelvic bones (see image of female skeleton) after the first childbirth. The more childbirths, the larger space. Perhaps, that's why
a next childbirth is
easier than the previous one for a woman.
Besides, a newborn's first cry seems me to be a result of shock from
passing through narrow birth channel.

Concerning female breasts, I can remind that most of mothers wean their
babies too early. They are continually
dissuaded from bottle-feeding. However, they ought naturally to enjoy
breastfeeding, and to need no proof of its benefits.

Women's rational reasons of weaning such as business, career, social and cultural influence only screens real physiological cause of
their unwillingness to keep
breastfeeding. And the silicon can't remedy that, of course.

See the following resources related to the general problems of breastfeeding for details.

Another essential feature of the Buddhist beauties, confirming their reality is that, in a shocking way they evince not a bit of the unnatural feeling of shame about their natural appearance so common in regular women.

They feel at ease having no real cloth on. Even their
fine ornamental girdles are mere decorations like their necklaces and
bangles.

According to Ancient Indian literature, the ascetic females wore simple bark-dresses, which did not adorn their bodies but concealed their own beauty instead:

Her bark-dress conceals the splendid orbs
Of her breasts, and reveals not their beauty
And brilliance; it seems that a sallow leaf
Has barely imprisoned a bud in the morning.
Kalidasa, The Recognition of Sakuntala

Even thir decorative girdles surrounding their hips only, served neither for constricting their waists nor for adorning their bodies. Those girdles were quite functional. According to the poem Cloud Messenger by Kalidasa their girdles jingling to their footsteps. In other words, their girdles as well as their bangles served as rattles at dancing.

But what must such shapely and comely women be ashamed of ?! It is just the women
lacking similar forms who experience certain
discomfort and need to shield their bosoms and groins somehow, being naked.
Even when the woman is regarded as the Goddess of Beauty!

Nude Aphrodite and Venus in the arts

Usually it looks as if they screen something sacrosanct from
vulgar stares, which can desecrate that. Botticelli's Venus looks like protecting her body from the cool wind. However, the comparison with the Buddhist
carvings reveals clearly that all they try to conceal the banality of
their forms.

No exception even for beloved men, so "the rites in honor of the Love
God" are held at the lights turned out as a rule.

Artemis hounding Actaeon for seeing her nude

In contrast to the common notion of female body
as the embodiment of perfect beauty, women avoid disclosing their nude bodies.
And therefore any little bit of nude female body excites necessarily the men's admiration
while such a sight for our earliest ancestors was doubtlessly as accessible as daylight.

It's clear that the overappreciation of female beauty exists just because men's eyes are
carefully preserved from blinding brilliance of female treasures.

By the way, it's significant that according to the Genesis book in the Eden garden Adam and Eve

Furthermore, women are known to avoid revealing their
true ages. An apparent reason is, once again, in their underdeveloped forms
that lifelong stay teenage.

Now the cause and the origin of women's self-consciousness and preoccupancy about their appearance becomes clear. Missing their proper forms, women use varied ruses to improve their semblance. So they like to adorn themselves furtively with varied fine dresses and accessories, from handbags to underwear. Saying figuratively, women palm off middlings in fancy wrapper, charge fancy prices for it, and dodge unwrapping that would result in debunking.

The present women only feign round-forms somehow.
For example, when a woman turns her hips, so that one side of her body looks wide-hipped .

In fine arts that pose termed contrapposto is very wide-spread in female images.

Female
contrapposto in the arts

Women as if wriggle out of the possible exposure and give themselves airs and graces in this way.
Another "popular" artifice to fake proper female forms consists in bearing legs in the shape of the letter
Y or K.

All those poses seem to be exhibitions of ease. In reality they just give women possibility to relax and to feel free from
continuous psychological tension.

This psychological tension of women is especially prominent in contrast to men's attitude in similar situations.
For instance, in the image left you can see soldiers having rest in society of a young
woman on a beach in a remote country. The soldiers have assumed natural stance of maximal
stability and minimal tension, whilst the woman is standing as if on parade. In exchange, her hips look round, and she feels surer despite the physical tension as a result.

Also remember how much time women spend arranging their hair. Female hairstyles have round outlines and make impression of round shape in this way.

Besides, women improve their appearance with varied camouflages such as fluid skirts hiding their hips, bras lifting their sagging breasts,
and corsets, bodices, girdles and belts constricting their waists.

In the former times of chivalrous knights and gallant
prices
that modern women miss so much, ladies wore framework skirts,
which made illusion of wide hips or, at least, afforded enough space
for male imagination. The illusion grew up with hard and tight corsets
constricting women's waists in contrast to the skirts. Some corsets served also
for rising female breasts.

Under defense of these garments women felt safe from arrows
of men's glances as if under armor, but these garments
were also as hard and cumbersome as armor.

All the same, since the wearing it was rewarded with men's
defeated hearts,
so the ladies resigned themselves to the discomfort
until the emancipation of
19-20th c. released them from the cages of the framework
skirts and from the bonds of the corsets.

Present-day girdle

Nevertheless modern women have not become free from troubles about
their figures. Only the ways of shaping an attractive figure
have become more "natural" in present.

So for the same aim of constricting their waists present-day
ladies go on severe diets and take exercises in hope to free
from stomach fat thought to be superfluous. Excessive aspiration
of this kind has resulted in some extreme cases of fatal anorexia. Feminists blame these cases of women's madness on
men's lust for thin female bodies. Even so, it is also true that
sometimes men like plump women, certainly for the same
illusion of broad pelvis that the fat makes.

Besides that, in present the stomach fat may be excised,
sometimes along with lower ribs, which impede some women rich in
bones to feel attractive. Also surgeons can fill a woman's lean breasts with silicone and
her heart with pride upon her affected bosoms.

One-sidedjustice

Thus, the serious biological causes underlie the attraction of round female forms. All things considered, the image of wide-hipped and
full-breasted female figure is kept in the common human hereditary
memory as the paragon of female body due to the biological purposes it serves.
In this way, the regular women who like to judge men's merits and demerits, and to find fault with lack of real men turn out unreal woman who unfit the basic requirements of female organism.

At that note that, unlike
the faultfinding and demanding pretenders around us, the genuine shamefree women represented by those stone carvings were Buddhist
ascetics, who, however, left a prosperous wonderland
created by ascetics after themselves.

So
the Buddhist beauties needed no garment with affected hips,
unlike women of later Hindu epoch who wore such dress as represented
in miniature right. They also needed to bear their hips and legs
neither in the contrapposto pose nor in the shape of
the letter Y or
K.
Their hairstyles were plain and utilitarian.

All that means that the heavenly beauties who none of us supposed to be ever there,
but whose image everyone kept in his heart, did step on earth.
In point of fact, they were no heavenly beauties but mere true women.

However, the sizes of female breasts and hips matter not only for reproductive
function of female organism.
The development of female secondary sex characteristics are known to be induced
by the basic female sexual hormones
termed estrogens, which, besides, benefit general female physical and mental health. Thus, inadequate development of female forms testifies surely the lack of these
hormones.

In other words regular women's underdeveloped forms are not mere their anatomic features or outward
qualities, but undeniable visual symptoms of some serious hormonal disturbance.
Usually we can't notice these crying
signs of disease just because all women bear them. It is one of the cases when something regular is wrongly
considered normal. Only the comparison with the Ancient Indian Buddhist carvings reveals this mistake.

Besides, well-known breast cancer, one of the most common types of human cancer in general, should be indicated as the extreme exhibition of some disturbance in female breasts.

Also it's no wonder that medicals fail to comprehend the nature of those female disorders  they stay ignorant of
the true norm of female health.

Thus, the little known mute sculptures tell us way more of female nature than women around us who often overuse their power of speech.
Even so, I don't want you to think that the secret of true femininity was kept in the museums. I have used those sculptures for the starting
point of my hypertext article as they present tangible and literally steady
proofs of the regular women's physical deficiency, in addition pretty ones. In reality my
ideas have occurred to me by another way.

In any event, now we can not only claim regular women to be ill but we can also
understand what the common women's disease is, or in other entire being a woman is. In other
words, we can answer the question